On the night of the 15th of September a great many more than forty pairs of feet were passing up and down the stairs of that magnificent specimen of Jackson's domestic architecture, the Hartleys' new palace in ——shire. Amateur theatricals are, strange as it may appear, since going to see them is almost invariably the triumph of hope over experience, always an attractive bait to hold out to a country neighbourhood. Apart from the pleasure of thinking how much better than do the actors, one could have played their parts one's self; and that opposite and more good-natured, if not quite so acute pleasure, of wondering with Miss Snevellici's patroness, 'How they ever learnt to act as they do, laughing in one piece, and crying in the next, and so natural in both,' there is, in the present case, an element of curiosity which adds an additional poignancy to the expectation of enjoyment usual in such cases.

It is the Hartley coup d'essai in hospitality in the county, and there is a widespread interest manifested as to how they will do it. Almost as widespread is the comfortable conviction that they will do it well.

An old-established squire who has been seated on his modest acres for a couple of hundred years may venture to invite his friends to dance on a sticky floor to the sound of a piano, and to wash away their fatigue in libations of 50-shilling champagne; but the millionaire, who has only within the last year set an uncertain foot upon the land, is not likely to try any such experiments upon the county's patience. It is, then, with a confident hope of Gunter and Coote and Tinney that the occupants of most of the carriages step out on the red cloth—a hope that the first glimpse of the banks of orchids that line the entrance-hall goes far to make a certainty.

From the minds of the occupants of one carriage, to whose turn, after long waiting in the endless string, it at length comes to set free its load, Gunter, Coote and Tinney, and orchids are equally distant. Milady's head is still running on her Patience, which, by the aid of a carriage-lamp and a pack of tiny cards, she has been playing contentedly during the whole of the long ten miles. The little portion of Peggy's heart that is not filled with an aching compassion and anxiety for her sister is pierced by the fear of the extreme likelihood, in so promiscuous a gathering of three-fourths of the county, of her finding herself face to face with the one woman whom she would compass sea and land to avoid, and with the man whom that woman habitually carries in her train.

And Prue?

'I think he is sure to be at the door to receive us, do not you?' she has whispered to her sister, under cover of milady's absorption in her solitary game, while they are still waiting in the string; 'not that I shall be so silly as to attach any importance to it if he is not; but after a whole week!' stifling a sigh. 'Oh dear!' letting down the glass and craning her neck impatiently out, 'shall we never get there? I see carriage-lamps for half a mile ahead of us still!'

A whole week! It is true. For a whole week the Red House has been favoured with no glimpse of Mr. Ducane. How should it, indeed, since he has been compelled by the exigencies of his situation to take up his abode entirely at the scene of his labours? Of what use to waste upon the long ride there and back time so precious in a last week? the time of one upon whose inexhaustible stock of ability and good-nature every one thinks him or herself entitled to draw.

But though he has been unable to present himself in person to his betrothed, he has had time to scribble her a tiny pencil-note, just a word—but then how little can the value of a letter be measured by its length!—praying her to keep a place for him by her side at the theatricals.

'If my Prue refuses, it will be all over with my pleasure,' he ends simply.

The carriage, after many tantalising halts opposite dark laurels, draws up finally before a blaze of electric light, a crowd of powdered footmen, an arching of palm-boughs; and milady steps deliberately out in her fur boots and her diamond 'fender,' followed by her two protÉgÉes. Freddy is not at the door to receive them; and the moment that she has discovered this fact, Prue sees the irrationality of the hope that had led her ever to expect that he would be. He is naturally not in the cloak-room, where milady seems, to the girl's passionate impatience, to loiter unconscionably long, tugging at the strings of her sortie de bal, which have got into a knot, and talking to the numerous friends she meets there. To do her justice, it is not any care for her toilette that detains her. She would quite as soon have the famous tiara—her 'fender,' as she always calls it—which the county has admired for fifty years, on crooked as straight. The county expects to see it on great occasions, and so she puts it on; but if Mrs. Mason were to dispose it behind before, the circumstance would disturb but very slightly her lady's equanimity. Mr. Ducane is not, as far as can be made out by a first glance, in the magnificent music-room, to-night arranged as a theatre, and at whose door Mrs. Hartley stands, smiling and splendid, to receive her guests. But though Prue's eye has as yet to fast from the sight of her betrothed, her ear at least is gladdened by his praises.

'Oh, Lady Roupell, I do not know how we ever can thank Mr. Ducane enough!' she hears Mrs. Hartley exclaim. 'My girls say they do not know what they should have done without him—so kind, so clever, and unselfish is not the word!'

Milady grunts.

'No, I do not think it is,' she says, half sotto voce, as she passes on.

At the first look, the room, superb as are its proportions, seems already full; but a closer inspection reveals at the upper end several still vacant rows of arm-chairs, reserved by the host and hostess for those among their guests whom they most delight to honour. To this favoured category belongs milady, and she is presently installed with her two young friends by a sÉmillant papa Hartley, in the very middle of the front rank. For the present, nothing can be easier than for Prue to keep the chair at her side vacant. She has already anxiously and surreptitiously spread her white frock over it. Each of earth's glories has probably its attendant disadvantages; a warm and consoling doctrine for those to whose share not much of life's gilding falls; nor is a seat in the front row of synagogue or playhouse any exception to this rule. It has the inevitable drawback, that except by an uncomfortable contortion of the neck-muscles, it is impossible for its occupants to see what is going on in the body of the room; and the view of foot-lights and a drop-scene is one that after a while is apt to pall.

Prue's head is continually turning over her shoulder, as, from the body of the long hall, all blazing with pink-shaded electric lamps, comes the noise of gowns rustling, of steps and voices, as people settle into their seats. At first she had had no cause for uneasiness. The people, as they tide in, conscious of no particular claim to chief places, pack themselves, with laughs and greetings to acquaintances, into the unreserved seats. But presently Mr. Hartley is seen convoying a party of ladies and men to the top of the room with the same evidences of deferential tenderness as he had shown to milady; and no sooner are they disposed of, according to their merits, than he reappears with the same smile, and a new batch. This continues to happen until the human tide, like its prototype in its inexorable march over swallowed sands and drunk rocks, has advanced, despite the piteous protest in Prue's eyes, to within three chairs of her. Yes, including that one so imperfectly veiled by the poor child's skirt, there are only three vacant seats remaining.

'Oh, I wish he would come! Oh, I wish he would come!' she repeats, with something that grows ever nearer and nearer to a sob in her voice. 'Oh, Peggy, do you think he will not come after all? You are longer-sighted than I am; do look if you can see him anywhere! Oh, I wish he would come! I shall not be able to keep this chair for him much longer, and then——'

Her words are prophetic. Scarcely are they out of her mouth before the vision of the radiant host is again seen nearing them, with a fresh freight—a freight that rustles and jingles and chatters louder than any of the previous ones.

'Oh yes, do put me in a good place!' a high and apparently extravagantly cheerful voice is heard exclaiming; 'I always like the best places if I can get them—do not you? and I mean to applaud more loudly than anybody. I have been engaged by Freddy Ducane as a claque; and I assure you I mean to keep my word.'

Although she has been expecting it—although she has told herself that to hear it is among the most probable of the evening's chances, yet, at the sound of that clear thin voice, Peggy turns extremely cold. It has come then. In a second she will certainly be called upon to hear another voice. Let her then brace herself to bear it decently. Her hands clasp themselves involuntarily, and she draws in her breath; but she cannot lift her eyes. She sits looking straight before her, waiting. But instead of the tones that with such sick dread she is expecting, she hears only milady's voice—milady's voice not in its suavest key.

'Oh! it is you, is it? How many of you are there?—because we are pretty full here; and I suppose you do not mean to sit upon our knees.'

'There is nothing I should like better!' cries Lady Betty friskily. 'You are looking perfectly delightful to-night; all the more so because your fender is quite on one side. Come now, do not be ill-natured, but make room for me; you know I am not very——'

Peggy hears the voice break off abruptly; and involuntarily her eyes, hitherto glued to the back of the chair in front of her, snatch a hasty glance in Lady Betty's direction. She has turned away, and is addressing Mr. Hartley in an altered and hurried key.

'After all, I hope you will not think me very changeable, but I believe I should like to sit a little farther back; one sees better, and hears better, and gets a better general idea.'

'She is going away!' whispers Prue, with a long quivering sigh of relief. 'Oh, I was so frightened! I thought she was going to take my chair. Why did she go? She could not have seen us!'

But this is not quite the conclusion arrived at by Peggy, as her eyes follow Betty's retreating figure—Betty, with her

that go to bed in a box—Betty, with the docile Harborough and a couple of Guardsmen at her heels; and—without John Talbot! That for one chance evening she should happen to lack his attendance is, after all, but small evidence against his being still riveted with her fetters; but Peggy's heart swells with a disproportionate elation at the discovery. There is, alas! not much likelihood of poor Prue's feeling a like expansion; for scarcely has she finished drawing the long breath caused her by Betty's retreat, than the seat which the latter had spared is approached, settled upon, and irrevocably occupied—poor Prue's barriers politely but ruthlessly swept away.

She has attempted a hurried protest, but it has not been even heard; and now it is too late, for a bell has rung. The curtain has swept aloft, with less of hesitation and dubiousness as to the result than is generally the case with amateur curtains, and discloses to view the second Miss Hartley seated under the rustic berceau of a wayside Italian wine-shop, in peasant's cap and bodice, soliloquising rather nervously and at some length. What is the drift of that soliloquy; or of the dialogue that follows with a person of a bandit nature, whom it takes some moments for his acquaintance to decipher into a young man Hartley; or of the jiggy catchy songs with which the piece is freely interspersed, Peggy will never know to her last day.

Before her eyes, indeed, there is a phantasmagoria of people going and coming in a blaze of light—of more be-peasanted Misses Hartley, with more banditted brothers; in her ears a brisk dialogue that must be funny, judging from the roars of laughter coming from behind her; of smart galloping quartettes and trios that must be humorous and musical, from the storm of applause and encores that greet them. But to her brain penetrate none of the gay and smiling images conveyed by her senses. Her brain is wholly occupied by the painful and impossible effort to calm Prue, whose agitation, rendered more unmanageable by the weakness of her state of health and the lack of any habit of self-government, threatens to become uncontrollable.

'Oh, Peggy, why has not he come? What has become of him? Where can he be?' she keeps moaningly whispering.

Peggy has taken hold of one of her sister's feverish hands, whose dry fire is felt even through her glove, and presses it now and again.

'He will be here directly,' she answers soothingly; 'no doubt he could not get away. You heard how useful he has been! Probably he is helping them behind the scenes. Do not you think that you could try to look a little less miserable? I am so afraid that people will remark it.'

'If he is behind the scenes,' moans Prue, not paying any heed to, evidently hardly hearing, this gentle admonition, 'he is with her. You see that she is not acting either! Wherever they are, they are together! Oh, Peggy, I think I shall die of misery!'

The close of her sentence is drowned in a tempest of riotous applause, and Peggy's eyes involuntarily turn to the stage, to learn the cause. One of the performers, who has been throughout pre-eminently the funny man of the piece, is singing a solo, accompanied by many facetious gestures. The drift of the song is the excessive happiness of the singer—a theme which is enlarged upon through half a dozen successive verses:

Peggy happens to have some acquaintance with the singer off the stage; knows him to be sickly, melancholy, poor; to-night racked with neuralgia, yet obliged to do his little tricks, and go through his small antics, on penalty of banishment from that society, his sole raison d'Être in which is his gift of making people laugh.

'La ComÉdie Humaine!' she says to herself—'La ComÉdie Humaine!'